Landscape in the story after the ball. The role of composition in the story L

Choose only ONE of the tasks below (2.1−2.4). In the answer sheet, write down the number of the task you have chosen, and then give a full detailed answer to the problem question (in the amount of at least 150 words), attracting the necessary theoretical and literary knowledge, relying on literary works, the position of the author and, if possible, revealing your own vision of the problem. When answering a question related to lyrics, you must analyze at least 2 poems (their number can be increased at your discretion).

2.4. Why, out of various titles - "Daughter and Father", "The Story of the Ball and Through the Line", "And You Say..." - Tolstoy settled on the title "After the Ball"?

2.5. What plots from the works of domestic and foreign literature are relevant to you and why? (Based on the analysis of one or two works.)

Explanation.

Comments on essays

2.1. Was the tragic ending of Mtsyra's fate predetermined? Justify your point of view.

The events described in the poem took place during the voluntary annexation of Georgia to Russia.

The tragedy of the fate of the protagonist is that he was captured (“he (the general) carried the child of the prisoner”). But Mtsyri's character was special, he refused to eat, because of these circumstances, "the mighty spirit of his fathers" developed in him. The dying boy was left in the monastery, where one monk left him. On the eve of taking the monastic vow, Mtsyri escaped from the monastery. All this time that he was in the monastery, he suffered from a lack of will. The three days he spent in the forest resurrected him. He saw beautiful nature, wild animals, a young girl. What he did outside the walls of the monastery, Mtsyri himself calls the word "lived." Just lived. At will, Mtsyri remembered his father's house and wanted to find a way to it, but returned again to the walls of the monastery. He realized that he would not be able to gain freedom. He does not want "human help", because he does not believe that people, completely different, can help him. Mtsyri is alone in this world, he is deeply aware of and experiences his loneliness.

With fate, according to the hero, it is futile to argue. Therefore, the tragic ending of his fate is predetermined.

Defeated, he is not spiritually broken and remains a positive image of our literature, and his masculinity, integrity, heroism were a reproach to the fragmented hearts of timid and inactive contemporaries from noble society.

2.2. What features of the lyrics of V. A. Zhukovsky gave grounds to the researcher A. Veselovsky to call his poetry “landscape of the soul”?

In almost all pictures of nature that Zhukovsky paints, there is a person who perceives it. He and nature are shown by the poet in some unity. It describes not so much natural phenomena as the state of mind of a person. That is why Zhukovsky's landscapes are called "landscapes of the soul." "The life of the soul" is the true subject of the poet's elegy.

2.3. Is there a theme of love in N.V. Gogol's story "The Overcoat"? Justify your point of view.

The theme of love sounds in the story in a completely different, unconventional way. Love on the pages of "The Overcoat" appears in a Christian interpretation. Love for one's neighbor, commanded by Christ the Savior, is the highest virtue of a Christian. A person, “your brother”, can find himself in a very difficult situation, get into trouble, be on the verge of starvation. The titular adviser Bashmachkin, being at a fair age (“Akaky Akakievich climbed over fifty”) all alone, experienced terrible moments of despair in the misfortune that happened to him. But no one helped the suffering, no one extended a helping hand, from no one he heard even a simple kind word, capable, according to St. Tikhon of Zadonsk, “to console the grieving.” A person enlightened by Divine truth and realizing the meaning of his earthly life cherishes the treasures of his soul, among which are love for God and his neighbor and sacrificial service to the Fatherland. Such is the position of Gogol.

2.4. Why, out of various options for names - "Daughter and Father", "The Story of the Ball and Through the Line", "And You Say..." - Tolstoy settled on the title "After the Ball"?

The story "After the Ball" is built on contrast. Contrasting portrait characteristics, the behavior of Father Varenka at the ball and after the ball, the mood and thoughts of the protagonist before and after what he saw on the parade ground. The title "After the Ball" more accurately conveys the main idea of ​​the work: a person's life can be changed by one event. For the main character, the turning point in his life came after the ball, from what he saw on the parade ground.

The main feature of the depiction of nature in Tolstoy's novels is its depiction in inseparable unity with man, his feelings. The perception of nature, the ability to merge with it is one of the main personal criteria for Tolstoy's heroes. It is these properties that determine the harmonious development of the personality, the moral health of a person, his vitality, the meaning of existence in the writer.

Landscape in Tolstoy is always realistic, clear, very concrete. Instead of Turgenev's halftones, shades of colors, here we find clear, defined lines, outlines of objects, attention to the main color. As G. B. Kurlyandskaya notes, the landscapes of the writer are characterized by “amazing relief of the image”, all objects in these landscapes have a clear location. Tolstoy's landscape is simple, devoid of excessive sentimentality, "free from the fetters of poetic associations", expressive epithets, in contrast to Turgenev's poetic, mysterious landscapes. But, as in Turgenev's novels, nature in Tolstoy is given in the perception of the hero. The writer emphasizes the deep, effective connection between the pictures of nature and the complex spiritual life of man. And this way Tolstoy's landscape reminds us of the landscapes created by Lermontov in the novel A Hero of Our Time.

Let's try to analyze the different types of landscapes in the novel "War and Peace". The functions of the landscape in the novel are varied. Being an element of the composition, descriptions of nature create a background against which the action takes place, precede certain events, create a certain mood, act as a means of characterizing the characters. The most important function of the landscape in the novel is the designation of the internal state of the characters, the state of their thoughts and feelings.

The perception of nature determines many of the spiritual movements of Andrei Bolkonsky. So, once the infinite, blue sky “discovered by him” then accompanies all the ups and downs of the hero, it appears to him in moments of greatest happiness and inescapable grief.

For the first time, this high, solemn sky with clouds running across it appeared to Prince Andrei when he, wounded, lay on the field of Austerlitz. Above him there was nothing but the sky—a high sky, not clear, but still immeasurably high, with gray clouds quietly creeping over it. “How quiet, calm and solemn, not at all the way I ran,” thought Prince Andrei ... How could I not have seen this high sky before? And how happy I am that I finally got to know him. Yes! everything is empty, everything is a lie, except for this endless sky." The image of the sky, symbolizing eternity, is created here thanks to the characteristic epithets ("endless sky", "immeasurably high" sky), metaphor ("grey clouds quietly crawling over it").

The solemn, majestic and indifferent serene sky reveals to Bolkonsky all the vanity and insignificance of his ambitious thoughts. And in this regard, the landscape here has a plot-forming significance. Prince Andrei is going through a spiritual crisis that determined the entire subsequent stage of his life. Ambitious thoughts and active participation in public life are replaced in Bolkonsky by inaction, indifference to everything. “I know only two real misfortunes in life: remorse and illness. And happiness is only the absence of these two evils, ”says Prince Andrei to Pierre who came to him.

Bezukhov convinces him that there is a God, truth, virtue, calls him to love and believe. At the same time with Pierre and nature, which seems to be asking Prince Andrei to trust a friend. Bolkonsky looks at the red reflection of the sun over the blue spill, listens to the silence, and it seems to him that the waves, hitting the bottom of the ferry with a faint thud, say: “True, believe this.”

And after a conversation with Pierre, Prince Andrei “for the first time after Austerlitz ... saw that high, eternal sky that he saw on the Austerlitz field, and something long asleep, something better that was in it, suddenly joyfully and young woke up in his soul.

The same sky motif appears in another landscape of the novel, when Prince Andrei arrives in Otradnoye. “As soon as he opened the shutters, the moonlight, as if he had been on guard at the window for a long time waiting for this, burst into the room. He opened the window. The night was fresh and still-light. Right in front of the window was a row of trimmed trees, black on one side and silvery on the other. Under the trees there was some kind of juicy, wet, curly vegetation with silvery leaves and stems here and there. Further behind the black trees there was a roof of some sort glistening with dew, to the right a large curly tree, with a bright white trunk and branches, and above it an almost full moon in a bright, almost starless spring sky. Prince Andrei leaned against the window, and his eyes rested on this sky.

Here Tolstoy uses emotional-color epithets (the night is “fresh and motionless-bright”, “silver-lit” and “black” trees, “bright white trunk”), comparison (moonlight burst into the room as if he were on guard I have been waiting by the window for a long time, when the windows will be opened). In addition, here we can note a clear location in space of all objects, paintings that make up the landscape.

This landscape, in addition, reveals the inner appearance of Natasha, who wants to fly into the sky, and poeticizes the feeling of love that is emerging in Prince Andrei. As A. I. Potapov notes, the landscapes that poeticize love in the novel are traditionally lunar (the mysterious Christmas night sets off the mutual feeling of Nikolai and Sonya).

After the break with Natasha, the writer again conveys Bolkonsky's feelings through the hero's perception of the endless, blue sky: nothing was eternal and mysterious.”

As S. G. Bocharov notes, the image of the sky is the leitmotif for Prince Andrei. In this image - "greatness, ideality, infinity of aspiration" and "detachment, coldness." The reverse side of the rationality, rationality, severity of the hero is the thirst for something absolute and eternal, the thirst for "heavenly" perfection. But this perfection must openly manifest itself in the phenomena of life, the ideal must coincide with reality. As the researcher notes, the gap between "heaven" and earthly reality is insurmountable for the hero, and this is the deepest tragedy of Bolkonsky's image.

In his life, Prince Andrei tries to overcome this gap, and Tolstoy again sets off the state of the hero with landscapes. On the guardianship of his son, Bolkonsky travels to the Ryazan estates, and Tolstoy paints here a magnificent picture of the spring forest. “Warmed by the spring sun, he sat in a carriage, looking at the first grass, the first leaves of a birch and the first clubs of white spring clouds scattering across the bright blue of the sky ... It was almost hot in the forest, the wind was not heard. The birch, all covered with green sticky leaves, did not move, and from last year's leaves, lifting them, crawled out, turning green, the first grass and purple flowers.

However, Bolkonsky is not touched by the "charm of spring." Here he noticed an old huge oak, with broken branches, looking "some old, angry and contemptuous freak." “Spring, and love, and happiness! - as if said this oak. “And how you don’t get tired of the same stupid, senseless deceit. Everything is the same, and everything is a lie! There is no spring, no sun, no happiness. Look, the crushed dead fir trees are sitting, always alone, and there I spread my broken, peeled fingers, wherever they grew - from the back, from the sides. As you have grown, so I stand, and I do not believe your hopes and deceptions.

Prince Andrei looked back at this oak several times, as if he was expecting something from him. These expectations of the hero are the desire to once again establish himself in the thought of the futility and meaninglessness of life. Prince Andrei here feels the harmonious relationship of nature and his condition, he is finally strengthened in his hopeless thoughts. Fixing the mood of the hero, nature gives Bolkonsky's thoughts a sad and solemn mood. He feels some kind of wisely just regularity of his condition.

However, the natural image already chosen by the writer symbolizes the hero's delusion. Oak has always been considered a symbol of strength and durability of life, longevity. In this sense, "old sores" on a mighty, strong tree are unnatural. Tolstoy here seems to emphasize the prematurity of the hero's spiritual aging, hints at his rich inner potential, at his inner strength, which makes it possible to get out of a mental crisis. In Otradnoye, Bolkonsky sees Natasha, carefree and happy, involuntarily hears her conversation with Sonya, and “an unexpected confusion of young thoughts and hopes” rises in his soul.

Returning back, Prince Andrei does not recognize the old oak. “The old oak tree, all transformed, spread out like a tent of juicy, dark greenery, was thrilled, slightly swaying in the rays of the evening sun. No clumsy fingers, no sores, no old grief and mistrust - nothing was visible. Juicy, young leaves broke through the hundred-year-old tough bark without knots, so that it was impossible to believe that this old man had produced them. “Yes, this is the same oak tree,” thought Prince Andrei, and an unreasonable spring feeling of joy and renewal suddenly came over him.

As M. B. Khrapchenko notes, the origins of Tolstoy's parallelism in descriptions of man and nature are in folk poetry. In a folk song, heroes are often compared with images of a mighty oak, a weeping willow, a mountain ash, "in the poetics of a folk song, the sun, stars, the moon, dawn, sunset play an important role in connection with the description of human experiences."

Landscapes reveal to us the state of mind of another hero, Pierre Bezukhov. Thus, Tolstoy sets off the nascent feeling of love for Natasha, which is not yet fully realized by himself, by describing the frosty winter night when Pierre leaves the Rostovs' house. “It was cold and clear. Above the dirty, half-dark streets, above the black roofs stood a dark starry sky. Pierre, only looking at the sky, did not feel the insulting baseness of everything earthly in comparison with the height at which his soul was. At the entrance to the Arbat Square, a vast expanse of starry dark sky opened up to Pierre's eyes. Almost in the middle of this sky ... stood a huge bright comet of 1812, the same one that, as they said, foreshadowed all sorts of horrors and the end of the world. But in Pierre, this bright star with a long radiant tail did not arouse any terrible feeling. On the contrary, Pierre joyfully, with eyes wet with tears, looked at this bright star ... It seemed to Pierre that this star fully corresponded to what was in his soul that blossomed into a new life, softened and encouraged.

However, this landscape has a deeper meaning. “The star of 1812 is the star of happiness for Pierre and Natasha. And she, the star of 1812, rose over Russia, this is the star of the Russian people, this is the star of history. She prophesies troubles and triumph for all the people in their historical life and for the hero of the novel in his life. The lyrical and the epic merge inextricably and completely in this image, as in the whole novel, ”writes V. V. Ermilov.

Landscapes in the novel are also connected with the spiritual evolution of the hero. Thus, with the help of pictures of nature, Tolstoy analyzes the feelings experienced by Pierre during the French captivity. The landscapes here convey a special feeling of inner freedom, fullness and "strength of life", acquired by the hero after all life's trials.

“When on the first day, having risen early in the morning, he left the booth at dawn and first saw the dark domes, the crosses of the Novodevichy Convent, saw frosty dew on the dusty grass, saw the hills of the Sparrow Hills and the wooded shore meandering over the river and hiding in the lilac distance, when I felt a touch of fresh air and heard the sounds of jackdaws flying from Moscow across a field, and when then suddenly light splashed from the east and the edge of the sun solemnly floated out from behind clouds, and domes, and crosses, and dew, and distance, and the river, everything began to play in joyful light, - Pierre felt a new, not experienced by him, feeling of joy and strength of life.

Anaphoric repetitions (“when”, “when”, “and when”), polyunion, metaphors (“light splashed from the east”, “wooded bank meandering over the river”) here emphasize the diversity, multicolor of life, which cannot be limited by the experience of an individual person, and even more so by certain life circumstances.

And Tolstoy emphasizes that a joyful feeling, an understanding of this is born in the hero through a special understanding of life, a special perception of it. Pierre, as never before, feels the Divine principle in the world, feels himself a part of being, realizing the immortality of his soul. The writer sets off the state of the hero with a picture of a calm night nature: “A full moon stood high in the bright sky. Forests and fields, previously invisible in the camp, now opened up in the distance. And even farther than these forests and fields could be seen a bright, oscillating, inviting endless distance. Pierre looked at the sky, into the depths of the departing, playing stars. “And all this is mine, and all this is in me, and all this is me! thought Pierre. “And they caught all this and put it in a booth fenced with boards!” He smiled and went to bed with his comrades.

Analyzing this episode, S. G. Bocharov notices that Prince Andrey and Pierre look at the sky differently: “the spirit of one rushes into endless distance, while Pierre brings the sky together with the stars and concludes in his personality ... The opposition of heaven and earth is removed in contemplation of the captive Pierre, such are his new heaven and new earth. This landscape emphasizes the acquisition by the hero of a new attitude, a new philosophy of life.

Pictures of nature also appear in the novel as a means of characterizing the characters. More than others in the novel, Natasha Rostova is close to nature. Love for nature determines the natural behavior of the heroine, her intuitive feeling of people, poetry, "life with the heart." Natasha admires the beauty of a summer night in Otradnoye, she loves autumn hunting, with its furious galloping, the barking of hounds, and the frosty morning air.

The hunting scene occupies four chapters in the novel. And nature here is “not only a landscape, but also that primordial world, the world of wild animals, animals with which a person comes into contact. Communication with nature ... weakens the impact on a person of the false conventions of everyday life; it awakens natural, "primordial" passions. With remarkable skill, Tolstoy conveys the development of these passions. Under the artist's pen, the primordial nature of nature itself comes to life. A seasoned wolf, a hare, dogs ... become a kind of characters whose behavior is described in detail, ”M. B. Khrapchenko notes.

The people themselves here become something like animals. So, in Nikolai, the desire to “hound the seasoned wolf” subjugates all other feelings. Natasha squeals so piercingly and wildly that "she herself should have been ashamed of this wild screeching and everyone should have been surprised at it if it had been at another time." However, in Tolstoy's eyes, the ability of a person to merge inextricably with nature and feel like a part of it are positive traits that largely determine the harmony of his earthly existence.

Helen Bezukhova, Anna Pavlovna Sherer, Prince Vasily, Anatole, Boris Drubetskoy, Anna Mikhailovna, Vera Rostova - all these heroes, on the contrary, are far from the natural world. And this "alienation" determines the falsity and unnaturalness of their behavior, their posturing, rationality, a kind of insensitivity, sometimes immorality, "false life goals."

Landscapes that open scenes of battles often symbolize the future outcome of the battle. So, for example, the battle of Austerlitz in the novel is preceded by a picture of an ever-increasing fog. “The night was foggy, and moonlight mysteriously made its way through the fog”; “The fog became so strong that, despite the fact that it was dawning, it was not visible ten paces in front of you. The bushes seemed like huge trees, the flat places seemed like cliffs and slopes... But for a long time the columns walked in the same fog, going down and up the mountains... Each soldier felt good in his soul from the fact that he knew that where he goes, that is, no one knows where, there are many more, many of ours”; “The fog that dispersed on the mountain only spread thicker in the lower parts, where the troops descended.” In this fog, Rostov is deceived all the time, "taking bushes for trees and potholes for people."

This landscape is ambiguous: in this episode, the fog symbolizes human delusions, uncertainty, the uncertainty of the outcome of the battle, the fallacy of the opinions of Russian officers. The soldiers are going "it is not known where" - with this phrase, the writer hints at the possibility of an unfavorable outcome of the battle of Austerlitz.

Russian troops, inspired by the presence of the emperor, are confident in the upcoming victory. And Rostov, and Denisov, and captain Kirsten, and Prince Dolgorukov, and Weyrother, and Alexander I himself - all count on a successful outcome of the battle. “Nine-tenths of the people of the Russian army at that time were in love ... with their tsar and with the glory of Russian weapons,” writes Tolstoy. Only one Kutuzov assumes his own defeat, clearly realizing that the Russian troops are going at random, not knowing exactly where the French are.

The landscape that accompanies Napoleon symbolizes his coming victory in the Battle of Austerlitz. “The fog was spreading like a continuous sea below, but at the village of Shlapanitsa, at the height on which Napoleon stood, surrounded by his marshals, it was completely light. Above him was a clear blue sky, and a huge ball of the sun, like a huge hollow crimson float, swayed on the surface of the milky sea of ​​fog ... When the sun completely emerged from the fog and splashed with a blinding brilliance over the fields and fog (as if he had only business), he took off the glove from a beautiful white hand ... and gave the order to start business.

The huge, dazzling sun, correlated with the image of Napoleon, reminds us of the "Sun King" - Louis XIV. This is also indicated by the crimson color of the sun, which we associate with royal purple. The sun in this landscape symbolizes the special position of the emperor among the French troops, Napoleon's ambition, his conceit, his "artificial world of ghosts ... greatness."

The landscape preceding the Battle of Borodino is also characteristic. Pierre, who arrived at the Borodino field, was struck by the beauty of the spectacle that opened up. “... The whole area was covered with troops and smoke of shots, and the oblique rays of the bright sun rising from behind ... threw on it in the clear morning air light penetrating with a golden and pink hue and dark, long shadows. The distant forests that complete the panorama, as if carved out of some precious yellow-green stone, could be seen with their curved line of peaks on the horizon ... Closer, golden fields and copses shone. Everywhere - in front, on the right and on the left - troops were visible. All this was lively, majestic and unexpected. On the Borodino field stood "that fog that melts, blurs and shines through when the bright sun comes out and magically colors and outlines everything seen through it."

This magnificent picture emphasizes the beauty of Russian nature, symbolizing Russia, everything that Russian soldiers had to defend on the Borodino field. The motif of confrontation between the reasonableness of nature and the unreasonableness of human aspirations, which carry the opposite of human nature, death and suffering, is perceptibly heard in this landscape. In addition, the majestic picture of nature here enhances the impression of the solemnity of what is happening, emphasizes the significance of this moment.

It is characteristic that, as before the Battle of Austerlitz, there is “fog and smoke” on the Borodino field. However, this fog soon "melts, spreads and shines through when the bright sun comes out." The writer, as it were, hints to us at the illusory nature of Napoleon's plans, that the French dreams of conquering Russia can melt away like morning fog.

It is characteristic that the sun here is “covered with smoke”. Since the sun to some extent correlates with the image of Napoleon in the novel, this landscape symbolizes the coming moral defeat of the French troops and the emperor's confusion, when "the terrible view of the battlefield defeated that spiritual strength in which he believed his merit and greatness."

Landscapes in the novel reveal the philosophical views of Tolstoy. Thus, the final landscape scene of the Battle of Borodino emphasizes the destructive influence of human civilization, which led to senseless wars. “Over the whole field, formerly so cheerfully beautiful, with its sparkles of bayonets and smoke in the morning sun, there was now a haze of dampness and smoke and smelled of strange acid of saltpeter and blood. Clouds gathered, and it began to rain on the dead, on the wounded, on the frightened and exhausted, and on the doubting people. It was as if he was saying, “Enough, enough, people. Stop... Come to your senses. What are you doing?""

As the pre-revolutionary researcher Rozhdestvin notes, Tolstoy's sense of nature developed under the influence of Rousseau. Nature and civilization are opposed in the mind of the writer. And in this Tolstoy reminds us of Lermontov, in whose work the world of nature is opposed to the world of human life.

Thus, Tolstoy depicts man in his inseparable unity with the elements of nature. In landscapes, the writer expresses his philosophical views, his attitude to historical events, his love for Russia.

In the story "After the Ball" by L. N. Tolstoy, written in the 90s. 19th century, depicted in the 1840s. The writer thereby set the creative task of restoring the past in order to show that his horrors live in the present, only slightly changing their forms. The author does not ignore the problem of a person's moral responsibility for everything that happens around.

In the disclosure of this ideological concept, an important role is played by the composition of the story, built on the basis of the “story within a story” technique. The work begins suddenly, with a conversation about the moral values ​​of being: “that for personal improvement it is necessary first to change the conditions among which people live”, “what is good, what is bad” and also ends abruptly, without conclusions. The introduction, as it were, sets the reader up for the perception of subsequent events and introduces the narrator Ivan Vasilyevich. Further, he tells the audience an incident from his life, which happened a long time ago, but answers the questions of the present.

This main part of the work consists of two pictures: a ball and a scene of punishment, and the second part is the main one in revealing the ideological concept, judging by the title of the story.

The episode of the ball and the events after the ball are depicted with the help of antithesis. The opposition of these two paintings is expressed in many details: colors, sounds, mood of the characters. For example: “a beautiful ball” - “which is unnatural”, “famous musicians” - “an unpleasant, screeching melody”, “face flushed with dimples” - “face wrinkled with suffering”, “white dress, white gloves, white shoes” - “something big, black, ... these are black people”, “soldiers in black uniforms”. The last counterpoint....

Today in the lesson we will read and analyze the story of L. N. Tolstoy "After the Ball" and pay special attention to the skill of the writer, who rightfully became the first figure in Russian literature.

Late evening, the room is dark. It seems that everything around is sleeping, and only the great worker Tolstoy cannot tear himself away from work, which is now the main business of his life. He wants the truth he understands to be available to all people. Tolstoy here looks like a wise and majestic prophet, a strict judge and teacher of life.

At the turn of the two eras, Tolstoy created a number of works, among which was the story "After the Ball." He was written in 1903, and published after the death of the writer - in 1911. The plot basis of the story was the actual events that happened to Leo Tolstoy's brother - S. N. Tolstoy.

Rice. 2. Brothers Tolstoy (from left to right): Sergei, Nikolai, Dmitry, Lev (Moscow, 1854). ()

Varvara Andreevna Koreish was the daughter of a military commander in Kazan. The writer himself knew both her and her father. Sergei Nikolaevich's feelings for this girl faded away after he, having cheerfully danced a mazurka with her at the ball, the next morning saw how her father ordered the soldier who had escaped from the barracks to be driven through the ranks. This incident no doubt then became known to Lev Nikolaevich. The story "After the Ball" was written at the end of the writer's life. It embodied all the skill of Tolstoy the artist. Consider the artistic originality of this work.

Mazurka

Mazurka- paired three-beat dance at a lively pace. By origin, it is associated with the folk dance of the Polish region of Mazovia - Mazury.

Mazurka is widespread in Russian music of the 19th century. In aristocratic life, the mazurka (along with the polonaise) is one of the typical ballroom dances, and against its background the quarrel between Onegin and Lensky is played out in Tchaikovsky's opera Eugene Onegin. About Colonel Skalozub from Woe from Wit it is said: "a constellation of maneuvers and mazurkas". The same can be said about Varenka's father.

Composition(construction, structure, architectonics) is the arrangement of the selected material in such an order that the effect of a greater impact on the reader is achieved than would be possible with a simple statement of facts.

In the story "After the Ball" Tolstoy uses a compositional technique story within a story. With this technique, he will first introduce the reader to the main character, who will later become the main narrator. Thus, a double author's view of the narrative is created in the story and additional authenticity is created. main narrator is Ivan Vasilyevich, who recalls the history of his youth. It was the period of the 40s of the 19th century. The story is made up of several parts. Let's plan the story.

Story Composition"After the ball":

1. Introduction. Dispute about the influence of society on man.

2. The main part.

2.2. Execution.

3. Ending. Discussing the place of man in society.

Such a composition, in which the introduction and ending are taken out of the scope of the main plot, is called framing. Thus, the main narrative consists of two parts: the description of the ball and the execution. As you can see, the composition is based on reception of antithesis- artistic opposition. Now let's work on the text and fill in the table, giving examples of opposition, contrast. In the table we write quotes from the first part - the description of the ball, and the second part - after the ball, i.e. executions.

execution

execution- this is the name of a terrible punishment common in the army in the first half of the 19th century, introduced during the reign of Nicholas I.

The soldier was driven through the ranks and beaten with sticks or rods. Here is how an old, 95-year-old soldier, the hero of Tolstoy's article of the same name, Nikolai Palkin, recalls those times: “... not a week went by without a man or two from the regiment being beaten to death. Today they don’t even know what sticks are, but then this word never left their mouths. Sticks, sticks! .. Our soldiers also called Nikolai Palkin. Nikolai Pavlych, and they say Nikolai Palkin. That's how he got his nickname."

Rice. 4. Illustration for the story "After the ball". ()

In 1864, near the Yasnaya Polyana estate, an execution took place over a soldier who hit an officer who mocked him. When Tolstoy found out about this event, he decided to intercede at the trial for the soldier, but his help was to no avail. The soldier was sentenced to passing through the ranks.

Rice. 5. Illustration for the story "After the ball". ()

The trial and execution made the hardest impression on Tolstoy. It should be noted that the whole life of the writer was tormented by the thought of the lack of rights of the Russian soldier. It is known that Tolstoy served in the army. In 1855, he worked on a project to reform the army, including raising the issue of the barbarity of execution.

Thus, we have proved that the story is based on the artistic device of antithesis. In this way, Tolstoy creates two worlds that collide with each other. This is an idle, cheerful world of aristocratic life and a world of harsh reality. This is the world of good and evil that collide in the human soul.

Rice. 6. Illustration for the story "After the ball". ()

The colonel, a kind and loving father, amazes us with his cruelty, which he shows in the service. Together with Ivan Vasilievich, we understand that he is real in the second part of the story. LN Tolstoy, being a count by birth, belonged to high society.

In the last years of his life, he thought more and more about the injustice of the world order. About this he wrote: “Man's task in life is to save his soul; to save your soul, you need to live like God, and to live like God, you need to renounce all the comforts of life, work, humble yourself, endure and be merciful.

More than once we have become acquainted with the work of a small epic form and we know that an artistic detail plays a huge role in such works.

Artistic detail- graphic and expressive detail, a characteristic feature of any object, part of everyday life, landscape, interior, portrait, carrying an increased semantic load, characterizing not only the object itself, but also determining in many respects the reader's attitude to it.

Internal monologue- the announcement of thoughts and feelings that reveal the inner experiences of the character, not intended for the hearing of others, when the character speaks as if to himself, "aside". It is the main method of psychological characterization of the hero.

Tolstoy uses the technique of internal monologue in the story “After the Ball” in the second part, when the narrator Ivan Vasilievich, after what he saw, begins to analyze the events and shares his experience with us.

“Obviously, he knows something that I do not know,” I thought about the colonel. “If I knew what he knows, I would understand what I saw, and it would not torment me.” But no matter how much I thought, I could not understand what the colonel knew, and I fell asleep only in the evening, and then after I went to a friend and got drunk with him completely drunk. Well, do you think that I then decided that what I saw was a bad thing? Not at all.

“If this was done with such confidence and recognized by all as necessary, then, therefore, they knew something that I did not know,” I thought and tried to find out. But no matter how hard he tried - and then he could not find out. And without knowing it, I could not enter the military service, as I wanted to before, and not only did not serve in the military, but did not serve anywhere and, as you see, was no good.

These words say a lot about the narrator Ivan Vasilyevich. In his youth, he was a representative of high society, a careless rake, rejoicing in life, faced a real situation that revealed to him the truth about the world, society and the place of man in this world. This truth broke him. Ivan Vasilyevich did not want to become part of the system in a society that was opposite to him, and therefore did not serve anywhere. Does Tolstoy justify him or condemn him for inaction and passivity? But do not rush to conclusions. We first find out what kind of ending was supposed in the draft versions of the story.

“I started seeing her less often. And my love ended in nothing, and I entered the military service as I wanted and tried to develop in myself such a consciousness of my duty (I called it that), like a colonel, and partly achieved this. And only in my old age did I now understand the full horror of what I saw and what I myself did.

As you can see, Tolstoy first planned to show the degradation of the hero. Not only did he not have to draw conclusions, but in many ways he became like a colonel, committing acts for which, in his old age, Ivan Vasilyevich was ashamed. In the final version of the story, Ivan Vasilievich refuses to serve at all. Therefore, Tolstoy does not condemn his hero. Rather, he wanted to show his disbelief that something can be changed in society, since, unfortunately, there are very few people like Ivan Vasilyevich, sincere, honest, capable of compassion, with a keen sense of justice.

Summing up the lesson, I would like to emphasize once again that in all his works L. N. Tolstoy raises universal problems. All the skill of the writer is aimed at educating the reader as a humanist, a person who is not indifferent to others, a person with high moral ideals.

Humanist

Humanist- an adherent of humanism; one who recognizes the value of a person as a person, his right to freedom, happiness, development and manifestation of his abilities, one who considers the good of a person to be a criterion for assessing social relations.

1. Tell the story of writing the story "After the Ball."
2. Prepare a report on the artistic originality of the story.
3. Make a table with the characteristics of the characters in the story.

1. Korovina V.Ya. etc. Literature. 8th grade. Tutorial in 2 parts. 8th ed. - M.: Enlightenment, 2009. - Part 1 - 399 p.; Part 2 - 399 p.
2. Merkin G.S. Literature. 8th grade. Textbook in 2 parts - 9th ed. - M.: 2013., Part 1 - 384 p., Part 2 - 384 p.
3. Buneev R.N., Buneeva E.V. Literature. 8th grade. House without walls. In 2 parts. - M.: 2011. Part 1 - 286 p.; Part 2 - 222 p.

1. Internet portal "Festival of Pedagogical Ideas "Open Lesson"" ()
2. Internet portal "referatwork.ru" ()
3. Internet portal "refdb.ru" ()

In the story "After the Ball" by L. N. Tolstoy, written in the 90s. 19th century, depicted in the 1840s. The writer thereby set the creative task of restoring the past in order to show that his horrors live in the present, only slightly changing their forms. The author does not ignore the problem of a person's moral responsibility for everything that happens around.

In the disclosure of this ideological concept, the composition of the story, built on the basis of the "story within a story" technique, plays an important role. The work begins suddenly, with a conversation about the moral values ​​of being: “that for personal improvement it is necessary first to change the conditions among which people live”, “what is good, what is bad” and also ends abruptly, without conclusions. The introduction, as it were, sets the reader up for the perception of subsequent events and introduces the narrator Ivan Vasilyevich. Further, he tells the audience an incident from his life, which happened a long time ago, but answers the questions of the present.

This main part of the work consists of two pictures: a ball and a scene of punishment, and the second part is the main one in revealing the ideological concept, judging by the title of the story.

The episode of the ball and the events after the ball are depicted with the help of antithesis. The opposition of these two paintings is expressed in many details: colors, sounds, mood of the characters. For example: “a beautiful ball” - “which is unnatural”, “famous musicians” - “an unpleasant, screeching melody”, “face flushed with dimples” - “face wrinkled with suffering”, “white dress, white gloves, white shoes” - “something big, black, ... these are black people”, “soldiers in black uniforms”. The last contrast between the colors black and white is reinforced by the repetition of these words.

The state of the protagonist in these two scenes is also in contrast, it can be expressed by the words: “I hugged the whole world at that time with my love” - and after the ball: “I was so ashamed ... I’m about to vomit with all the horror that entered in me from this spectacle.

An important place in the contrasted paintings is occupied by the image of the colonel. In a tall military man in an overcoat and cap, leading the punishment, Ivan Vasilievich does not immediately recognize the handsome, fresh, with sparkling eyes and a joyful smile, the father of his beloved Varenka, whom he had recently looked at the ball with enthusiastic amazement. But it was Pyotr Vladislavovich "with his ruddy face and white mustache and sideburns", and with the same "strong hand in a suede glove" he beats a frightened, short, weak soldier. By repeating these details, Leo Tolstoy wants to show the colonel's sincerity in two different situations. It would be easier for us to understand him if he pretended somewhere, tried to hide his true face. But no, he is still the same in the execution scene.

This sincerity of the colonel, apparently, led Ivan Vasilyevich to a dead end, did not allow him to fully understand the contradictions of life, but he changed his life path under the influence of what happened. Therefore, there are no conclusions at the end of the story. The talent of L. N. Tolstoy lies in the fact that he makes the reader think about the questions posed by the whole course of the story, the composition of the work.

The story of L. N. Tolstoy “After the Ball” develops the theme of “tearing off all and sundry masks” from the carefree, washed, festive life of some, contrasting it with lawlessness, oppression of others. But at the same time, the writer makes readers think about such moral categories as honor, duty, conscience, which at all times made a person responsible for everything that happens to him and to society. We are led to these reflections by the very composition of the story, built on the opposition of the pictures of the ball and the punishment of the runaway soldier, transmitted through the perception of the young man Ivan Vasilyevich. It is he who will have to understand “what is good and what is bad”, evaluate what he has seen and make a choice of his future fate.

The life of the young man developed safely and carefree, no "theories" and "circles" interested him or other young students close to him. But at the same time, there was nothing reprehensible in their enthusiasm for balls, skating, light revels. We are imbued with sincere sympathy for Ivan Vasilievich at the ball when we see him enchanted by the festive atmosphere of the dinner party, tenderly in love with Varenka. The words say about the enthusiastic, sympathetic soul of this person: “I was not me, but some kind of unearthly creature that knows no evil and is capable of only good”, “I hugged the whole world at that time with my love.”

And this hot, impressionable young man for the first time in his life faced with cruel injustice, with the humiliation of human dignity, which was not even shown in relation to him. He saw that a terrible reprisal against a person was carried out in an ordinary, habitual way by a person who himself had recently been kind and cheerful at the same ball.

Horror from what he saw entered the living soul of the young man, he "was so ashamed" that he "lowered his eyes", "hurried to go home." Why didn’t he intervene in what was happening, didn’t express his indignation, didn’t accuse the colonel of cruelty and heartlessness? Probably because such a terrible scene, seen for the first time, simply stunned the young man, and also confused the sincerity with which the colonel behaved during this punishment. “Obviously, he knows something that I don’t know,” Ivan Vasilyevich pondered. “If I knew what he knows, I would understand what I saw, and it would not torment me.” From the story, we learn that Ivan Vasilyevich failed to “get to the root” in his thoughts. But his conscience did not allow him to become a military man in his later life, because he could not deal with a person like this “according to the law”, to serve cruelty.

And the character of the colonel, this actually loving father, a pleasant person in society, has firmly entered distorted concepts of duty, honor, dignity, which allow trampling on the rights of other people, dooming them to suffering.

In one of his articles, L. N. Tolstoy wrote: “The main harm is in the state of mind of those people who establish, allow, prescribe this lawlessness, those who use it as a threat, and all those who live in the belief that such the violation of all justice and humanity is necessary for a good right life. What terrible moral crippling must take place in the minds and hearts of such people…”

38. Why didn't Ivan Vasilyevich serve anywhere? (according to the story of L. N. Tolstoy "After the ball")

The composition of the work of L. N. Tolstoy “After the Ball” is a “story within a story”. The narrative begins with the words of Ivan Vasilyevich, who is briefly introduced by the author in the introduction. We are talking about the moral values ​​of human life, about “that for personal improvement it is necessary first to change the conditions among which people live”, “what is good, what is bad”. Ivan Vasilyevich is described as a "respected" person, he said "very sincerely and truthfully."

After such an established trust in the hero, we hear his story about one morning that changed his whole life.

The event takes place at a time when the narrator was young, rich, carefree, like his friends with whom he studied at a provincial university, had fun at balls, feasts, skating with young ladies and did not think about the serious issues of life.

At the ball, which he describes, Ivan Vasilievich was especially happy: he is in love with Varenka, who reciprocates his feelings, he is happy and "at that time he hugged the whole world with his love." The ability for such feelings testifies to the enthusiastic, sincere, broad soul of a young man.

And for the first time in his life, this ardent young man is faced with another, terrible world, the existence of which he did not suspect. The scene he saw of the cruel punishment of the runaway soldier, carried out under the supervision of Varenka's father, filled Ivan Vasilyevich's soul with unimaginable horror, almost physical anguish, reaching nausea. The execution itself was terrible, but the hero was also struck by the fact that it was led by the same dear colonel “with his ruddy face and white mustaches and sideburns,” whom Ivan Vasilyevich had just seen at the ball. The narrator, meeting eyes with Pyotr Vladislavovich, felt shame and embarrassment, which later turned into painful reflections about what he saw: “obviously, he (the colonel) knows something that I don’t know ... If I knew what he knows, I would understood what I saw, and it would not torment me.”

“If this was done with such confidence and recognized by everyone as necessary, then they must have known something that I did not know.”

But Ivan Vasilyevich could not understand the need for mockery of a person, humiliation of his dignity. And therefore “I could not enter the military service, as I wanted to before, and not only did not serve in the military, but did not serve anywhere and, as you see, was not good for anything,” the hero concludes his story. Conscientiousness, a sense of responsibility for everything that happens in life, did not allow Ivan Vasilyevich to become a “cog” in a soulless state machine.

What did this man, who had matured after that memorable morning, do anyway? The author does not give us a direct answer, but in the words of the listeners of Ivan Vasilyevich's story, there is recognition of his merits to those people whom he managed to help in life: “Well, we know how you were no good,” said one of us. “Tell me better: no matter how many people would be good for nothing, if you weren’t there.”

39. Autumn in the lyrics of Russian poets (based on the poems of M. Yu. Lermontov "Autumn" and F. I. Tyutchev "Autumn Evening")

The nature of the native country is an inexhaustible source of inspiration for poets, musicians and artists. All of them were aware of themselves as part of nature, "breathed the same life with nature," as F. I. Tyutchev said. He also owns other wonderful lines:

Not what you think, nature:

Not a cast, not a soulless face -

It has a soul, it has freedom,

It has love, it has a language...

It was Russian poetry that was able to penetrate into the soul of nature, to hear its language. The poetic masterpieces of A. S. Pushkin, A. A. Fet, S. Nikitin, F. I. Tyutchev, M. Yu. Lermontov and many other authors reflected different seasons in generalized paintings (for example, “A sad time! Eyes of charm!”), And in their beautiful moments (“O first lily of the valley!”).

It cannot be said that some time of the year received more or less creative attention. It's just that in every state of nature the poet can see and hear consonance with his thoughts and feelings.

Here we have two “autumn” poems by M. Yu. Lermontov and F. I. Tyutchev: “Autumn” and “Autumn Evening”.

One of them, Lermontov's poem, paints, as it were, a generalized picture of the autumn season, which includes the landscape, the life of animals, and the mood of people. The defining words here are: “drooped”, “gloomy”, “does not like”, “hide”, “dim”. It is they who create the sad emotional background of the poem, convey the feeling of some kind of loss. But Lermontov is a poet who sees the world as bright and full of movement. So in this small work there is a bright color scheme: a combination of yellow, green, silver, and verbs here account for almost a third of the independent parts of speech. In the first two lines, the use of three verbs in a row immediately gives the impression of an autumn wind, freshness.

The next picture is the opposite of the first: it is static: “Only in the forest did the spruce droop, They keep the greenery gloomy.” But the reception of personification revives her.

And here is a man - a plowman who has finished his hard work on the ground. Yes, now he won’t have to rest between the flowers for a long time, but such is the law of life, and there is no hopeless sadness in this picture either.

All living things meet autumn in their own way, and therefore “the brave beast is in a hurry to hide somewhere.” The epithet “brave” is interesting, to which M. Yu. Lermontov conveys admiration for the rational arrangement of the living world: after all, the animals skillfully hide and survive the harsh winter.

In the last lines, the poet turns his gaze from the earth to the sky: there is a dull moon, fog. And yet the field is silver even under this dim light.

Lermontov creates a picture of autumn, full of harmony, naturalness, life.

F. I. Tyutchev also managed to catch the “touching, mysterious charm” in the autumn evenings. This poet feels subtle transitions from late winter to early spring or from late summer to early autumn. Nature in his poems is alive, active, as if she keeps her own calendar.

The poem “Autumn Evening” captures the transition of sad orphan nature to descending storms, the moment of withering is stopped, the mysterious soul of the living world is depicted, suffering from the departure of the variegation of trees, foggy and quiet azure. Therefore, at the end of the poem, the parallel of this state of nature with the world of rational beings, meekly and bashfully enduring inevitable suffering, is so natural. The epithet "sinister" is noteworthy, as Tyutchev saw the brilliance of autumn leaves. This word stands out among other figurative definitions of the poem: “quiet azure”, “sadly orphaned land”, “meek smile”. The above epithets leave the impression of a fading life, reinforced by the words “damage, exhaustion”, and therefore the diversity of trees with crimson leaves against this background seems somehow defiantly unnatural; deceptive, and therefore "sinister."

The poem was written by Tyutchev as if in one breath, because there is only one sentence in it, in which the soul of man and the soul of nature merged into a single whole.

40. Spring in the lyrics of Russian poets (based on the poems by A. A. Fet “The First Lily of the Valley” and A. N. Maikov “The Field Is Shimmering with Flowers”)

A. N. Maykov and A. A. Fet can rightly be called singers of nature. In landscape lyrics they reached brilliant artistic heights, genuine depth. Their poetry attracts with sharpness of vision, subtlety of the image, loving attention to the smallest details of the life of native nature.

A. N. Maikov was also a good artist, so he liked to poetically display the bright, sunny state of nature in his poems. And what could be brighter and sunnier than a singing spring or summer day? The earth that has woken up and comes into force after the cold weather pleases the eye with a riot of colors, “warms the heart” with hopes and greetings, makes you smile for no reason, as described in A. N. Maikov’s poem “After it ripples with flowers.”

The poetic space here is devoid of images, it is all flooded with light, even the singing of the larks seems to dissolve in the “glow of noon”. And the poet places himself inside this picture without violating its harmony, but on the contrary, conveying the state of happy unity of the human soul and the surrounding world in a moment of delight:

But, listening to them, eyes to the sky,

Smiling, I turn.

An elevated, solemn mood is given to the poem by the vocabulary: “shaken”, “abyss”, “look”, “amuse”, “listen”.

These words of high stylistic coloring, as it were, carry the reader into the blue abyss, where the poet also directs his gaze.

The world is also harmonious, beautiful in the lyrics of A. A. Fet. But the poet does not strive to depict a holistic and complete image of nature. He is interested in “poetic events” in the life of nature: roses are sad and laughing, the bell in the flower garden is ringing subtly, the fluffy spring willow is spreading its branches, and the “first lily of the valley” “begs the sun’s rays from under the snow.” Of course, the richest in such events can again be spring with its desire for life, joy. Therefore, in the poem "The First Lily of the Valley" there are so many exclamatory sentences. It is important for Fet not to photographically accurately depict natural phenomena, but to convey his impressions of them. And the lily of the valley in his poem becomes not just an image, but an image-experience:

O first lily of the valley! From under the snow

You ask for sunbeams;

What a virgin bliss

In your fragrant purity!

Such verses are addressed not to the mind, but to the feelings of a person with his penchant for unexpected connections and associations:

So the maiden sighs for the first time

About what - it is not clear to her -

And a timid sigh is fragrant

The excess of life is young.

Fet has “air, light and thoughts at the same time”: his poetic feeling penetrates beyond the boundaries of ordinary things and phenomena into the ultimate mystery of the universe:

Like the first beam of spring is bright!

What dreams descend in it!

This also explains the poet's violation of the traditional conventions of metaphorical language, all the boundaries between man and nature are eliminated: the poem is about both the lily of the valley and the maiden.

Another feature of Fetov's lyrics is the musicality, which is manifested in the scoring of objects and phenomena of the surrounding world. There is also a song beginning in the poem "The First Lily of the Valley". It is created, firstly, by lexical repetitions: “first”, “spring - spring”, “maiden - virgin”, “sighs - sigh”, as well as anaphoras: “how”, “what”, synonyms: “fragrant - fragrant ".

Reading such poems as "The field is churning with flowers", "The first lily of the valley" is a real pleasure, allowing you to plunge into the wonderful world of poetry and spring.

41. The inner world of the hero in A.P. Chekhov's story "About Love"

A.P. Chekhov's story "About Love" is on a par with his other two stories "The Man in the Case" and "Gooseberry", called the "little trilogy". In these works, the writer judges people with truncated life horizons, indifferent to the wealth and beauty of the world of God, who have limited themselves to the circle of petty, philistine interests.

In the story "About Love" we read about how a living, sincere, mysterious feeling is destroyed by the loving hearts themselves, committed to a "case" existence. The story is told on behalf of Pavel Konstantinovich Alekhine, a Russian intellectual, a decent, intelligent person who lives lonely and joyless. The story of his love for a married lady, Anna Alekseevna Luganovich, was told to his friends to confirm his idea that we, Russian people, “when we love, we do not stop asking ourselves questions: is it honest or dishonest, smart or stupid, what will this love lead to, and etc. It’s good or not, I don’t know, but what it interferes with, doesn’t satisfy, irritates - I know that. But this load of moral doubts prevented the hero not only in love, at the beginning of his story he says a few words about himself that reveal his inner world. Alekhin, by his inclinations, is an armchair scientist, forced to lead the everyday life of a prosperous landowner, taking away all his free time, and at the same time he experienced boredom and disgust. Love for a young woman made him even more unhappy. She only affirmed the hero in the impossibility of breaking with a bleak existence: “Where could I take her? It’s another matter if I had a beautiful, interesting life, if I fought for the liberation of my homeland or if I was a famous scientist, artist, artist, otherwise, from one ordinary, everyday situation, I would have to drag her into another one of the same or even more everyday ". The hero understands that in the life to which he has condemned himself, there is no place for the great mystery, which is love. The inertia of the existence of Alekhine and Anna Alekseevna kept their souls captive and eventually destroyed their feelings. And only when separation came, with a burning pain in his heart, the hero realized "how petty and deceitful it was" all that prevented them from loving. But insight is a little late and the turn of righteous deeds does not come after the spoken words.

The story is built as a monologue of the protagonist, but there is an introduction to it and an ending that allows the author to give his assessment of this story. The landscape sketch in the frame of the story is noteworthy: Alekhine begins his narration in bleak rainy weather, when one gray sky was visible through the windows. This capacious Chekhovian detail is a symbol of the gray, dull life that the hero leads, and of his inner world. And here is the end of the story: “While Alekhin was talking, the rain stopped and the sun came out”, the heroes admire the beautiful view, and along with the sadness from what they heard, purification comes to their soul, which allows A.P. Chekhov to hope that healthy aspirations in thoughts and the feelings of the Russian people will still be stronger than a bloodless and boring existence.

42 The problem of the positive hero in M. Gorky's story "Chelkash"

In the story of Maxim Gorky "Chelkash" there are two main characters - Grishka Chelkash - an old pickled sea wolf, an inveterate drunkard and a clever thief, and Gavrila - a simple village guy, a poor man, like Chelkash.

Initially, the image of Chelkash was perceived by me as negative: a drunkard, a thief, all ragged, bones covered with brown leather, a cold predatory look, a gait like the flight of a bird of prey. This description causes some disgust, hostility. But Gavrila, on the contrary, is broad-shouldered, stocky, tanned, with large blue eyes, his gaze is trusting and good-natured, there was simplicity in him, perhaps even naivety, which gave zest to his image. Gorky brings his two heroes face to face, so they get to know each other and go to a common cause - theft. (For the fact that Grishka dragged Gavrila into his affairs, Chelkash can be safely called a negative hero). But in the course of their common craft, a negative opinion is formed about Gavril: he is a coward, showed weakness: he sobbed, cried, and this causes hostility towards the guy. There is a kind of role reversal: Chelkash turns from a negative hero into a positive one, and Gavrila is vice versa. Here are visible manifestations of true human feelings in Chelkash: he was offended to lie, the boy. He, a thief, passionately loved the sea, this boundless, free, powerful element, this feeling cleansed him of worldly problems, he became better at the sea, thought a lot, philosophized. Gavrila is deprived of all this, he loved the land, peasant life. However, Chelkash is also connected with the earth, connected with the sweat of many generations, connected with memories of childhood. Gavrila engendered pity in the old sea wolf, he pitied him and was angry with himself for it.

The main problem of the positive hero is that he is too kind, not everyone would give a complete stranger all the money, even if earned by dishonest labor, because of which he risked his life and freedom. Moreover, Gavrila strongly hurt the pride (and Chelkash was very proud) of Chelkash, he called him an unnecessary person, insignificant, he (Gavrila) does not appreciate and does not respect the person who did him good. In addition, he is greedy, he almost killed a man for money, he is ready to sell his soul for an extra penny. Chelkash, despite his wild way of life, the fact that he is a thief and a reveler, cut off from everything native, has not lost his sense of reason, his sense of conscience. He is truly glad that he has not become and will never become greedy, low, bereft of himself because of money, ready to choke himself because of a penny.

The main ideal of Chelkash's life has always been and will forever remain freedom, wide, boundless, powerful, like the element of the sea.

43. Landscape in M. Gorky's story "Chelkash"

Poets and writers of different times and peoples used the description of nature to reveal the inner world of the hero, his character, mood. The landscape is especially important at the climax of the work, when the conflict, the problem of the hero, his internal contradiction are described.

Maxim Gorky did not do without this in the story "Chelkash". The story, in fact, begins with artistic sketches. The writer uses dark colors (“the blue southern sky darkened by dust is cloudy”, “the sun looks through a gray veil”, “waves chained in granite”, “foamed, polluted with various rubbish”), this already tunes in a certain way, makes you think, be alert, be alert.

These pictures are complemented by sounds: “the ringing of anchor chains”, “the rumble of wagons”, “the metallic scream of iron sheets”. All these details, as it were, warn us of an impending conflict. And against this background, Grishka Chelkash appears - an old poisoned wolf, a drunkard and a brave thief. The description of his appearance is fully consistent with the description of the pictures of the port; the author uses gloomy colors - "tousled black hair with gray hair and a drunken, sharp, predatory face", "cold gray eyes", this causes some disdain and disgust for the hero. Against the same background, we see a young, stocky guy - Gavrila. An acquaintance is established between them, Chelkash invites this guy to take part in the case - in theft, but Gavrila does not yet know what kind of business it is.

Night, silence, clouds floating across the sky, a calm sea, sleeping in a healthy sound sleep of "a worker who was very tired during the day." Both heroes are also calm, but behind this calm lies internal tension. As this tension develops from the inner into the outer, Gorky shows how the sea awakens, how the waves rustle, and this noise is terrible. This fear is also born in Gavrila's soul. Chelkash left Gavrila alone, and he himself went for "booty". And again everything was quiet, it was cold, dark, ominous, and most importantly, everything was silent. And from this deaf silence it became eerie. Gavrila felt crushed by this silence, and although he despised Chelkash, he was nevertheless glad of his return. Meanwhile, the night became darker and more silent, and this gave confidence and strength to complete a successful "operation", the sea became calm, and peace of mind returned to both heroes. Nature, as it were, helped the heroes overcome all obstacles and successfully reach the shore. Landscape sketches reflect the inner state of the characters: everything is calm, and the sea is calm...

In the last scene - the scene of the conflict between Chelkash and Gavrila - we see a picture of rain, at first it comes in small drops, and then larger and larger. This corresponds exactly to the brewing conflict: at first it was based simply on begging for money, and then on a fight. The trickles of rain weaved a whole network of threads of water, in my opinion, M. Gorky wanted to show that Gavrila was entangled in the network of his own thoughts: he wanted to get money, and not just his share, but all the “earned” money, secondly, he conceived killing a person if he does not voluntarily give the money, and, thirdly, for all this he wanted to be forgiven so that his conscience would be clear.

And the rain kept pouring down, its drops and splashes of water washed away the traces of the drama, a small conflict that flared up between the old wolf and the young man.

Undoubtedly, the role of the landscape is great in the work. According to these descriptions, it is easier to understand the nature of the characters, what they have in mind, one gets an idea of ​​​​what will happen next, thanks to them one feels the approaching conflict, the peak and the denouement of the conflict.

44. Chelkash and Gavrila (according to M. Gorky's story "Chelkash")

Gorky’s early work (90s of the 19th century) was created under the sign of “gathering” the truly human: “I got to know people very early and from my youth I began to invent Man in order to satisfy my thirst for beauty. Wise people ... convinced me that I had ill-invented consolation for myself. Then I again went to the people and - it's so understandable! - again from them I return to the Man, ”Gorky wrote at that time.

Stories from the 1890s can be divided into two groups: some of them are based on fiction - the author uses legends or composes them himself; others draw characters and scenes from the real life of tramps.

The story "Chelkash" is based on a real case. Later, the writer recalled the tramp, who served as the prototype of Chelkash. Gorky met this man in a hospital in the city of Nikolaev (Chersonese). “I was amazed at the harmless mockery of the Odessa tramp, who told me the incident described by me in the story“ Chelkash ”. I well remember his smile, which showed his magnificent white teeth - the smile with which he concluded the story of the treacherous act of the guy he hired ... "

There are two main characters in the story: Chelkash and Gavrila. Both tramps, poor, both village peasants, of peasant origin, accustomed to work. Chelkash met this guy by chance, on the street. Chelkash recognized him as “his own”: Gavrila was “in the same pants, in bast shoes and in a torn red cap.” He was of a heavy build. Gorky several times draws our attention to the large blue eyes, looking trustingly and good-naturedly. With psychological accuracy, the guy defined Chelkash's "profession" - "we cast nets along dry shores and along barns, along lashes."

Gorky contrasts Chelkash with Gavril. Chelkash at first “despised”, and then, “hated” the guy for his youth, “clear blue eyes”, healthy tanned face, short strong arms, because he has his own house in the village, that he wants to start a family, but most importantly it seems to me that Gavrila has not yet known the life that this experienced man leads, because he dares to love freedom, which he does not know the price of, and which he does not need.

Chelkash seethed and trembled from the insult inflicted by the guy, from the fact that he dared to object to an adult man.

Gavrila was very afraid to go fishing, because it was his first case of such a plan. Chelkash was calm as always, he was amused by the guy's fear, and he enjoyed it and reveled in what he, Chelkash, is a formidable person.

Chelkash rowed slowly and evenly, Gavrila - quickly, nervously. It speaks of resilience. Gavrila is a beginner, so the first trip is so hard for him, for Chelkash this is another trip, a common thing. Here the negative side of the man is manifested: he does not show patience and does not understand the guy, yells at him and intimidates. However, on the way back, a conversation began, during which Gavrila asked the man: “What are you now without land?” These words made Chelkash think, pictures of childhood, the past, the life that was before the thieves surfaced. The conversation fell silent, but Chelkash even from Gavrila's silence blew the countryside. These memories made me feel lonely, torn out, thrown out of that life.

The climax of the story is the scene of a fight over money. Greed attacked Gavrila, he became terrible, an incomprehensible excitement moved him. Greed took possession of the young man, who began to demand all the money. Chelkash perfectly understood the state of his ward, went to meet him - gave the money.

But Gavrila acted low, cruelly, humiliated Chelkash, saying that he was an unnecessary person and that no one would have missed him if Gavrila had killed him. This, of course, hit Chelkash's self-esteem, anyone in his place would have done the same.

Chelkash, undoubtedly, is a positive hero, in contrast to him, Gorky puts Gavrila.

Chelkash, despite the fact that he leads a wild life, steals, would never act as low as this guy. It seems to me that the main things for Chelkash are life, freedom, and he would not tell anyone that his life is worthless. Unlike a young man, he knows the joys of life and, most importantly, life and moral values.